Low-G Super Concert?

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Goats Can Eat Anything

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Hello:

I know some people play concerts set up with a low-g, but this is less common than low-g tenor. I suspect that there are two reasons why people prefer the low-g on a tenor: scale length and body size.

Now, I'm wondering about the comparative importance of these factors. How does (or do you suspect) a low-g would work on a super concert? This would give identical tension to a tenor. How would the body size fare?

Thanks in advance for your thoughts.
 
I had my super concert strung low g and I really like it. of course, the tenor neck made it very doable.
 
I don't see any advantage to a tenor as opposed to a concert, for the low G. I string one of my concerts low, and one high, with no problem. I'll even string my soprano with low G from time to time. I did have to file the nut a bit to prevent slippage because I bend a lot, but I suspect I would would have to do that with a tenor, too, I don't know.
 
One of the advantages I see with the super concert is the brighter uke-ier sound with the extra space of a tenor neck. For my Nalu super concert, I found that the low-g darkened the sound too much for my ears.
 
First, let me say that this instrument is near and dear to my heart. When we started, we had only three models. Since we’ve never exactly made the standard configurations, we called them Southcoast Uke, Southcoast Big Uke, and Southcoast Tenor Guitar.

The Southcoast Uke, was a 17” scale instrument with a relatively small body – basically a “Super Concert”. Now that we’re getting back to building after our Lacey Act hiatus, the model will have a new name: Southcoast Alto Largo. The fact that we called this our “Uke” in the first place shows how much we like this configuration. We think it’s the modern classic ukulele - the largest scaled instrument that maintains a classic ukulele sound.

Now, I’ll admit to a certain prejudice against linear tunings on small bodied instruments. I won’t go into all the reasons now. Just let me say that you could take all the top players who play these set-ups and count them on one hand with 4 fingers left over. Take away amplification and you have an empty hand.

I’ll play devil’s advocate to myself for a moment. If you want to violate a beautiful instrument in this fashion, it will be easier to do it with the longer scale. It means your 4th string won’t have to be either ridiculously thick or ridiculously loose. There’s no getting around the fact, however, that the low G note will be ridiculously deep for a concert volume body.

I know ukuleles are supposed to be fun first and foremost. If you have fun with this set-up, then fine. At least you likely won’t go to hell for this sin.
 
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southcoastukes said:
First, let me say that this instrument is near and dear to my heart. When we started, we had only three models. Since we’ve never exactly made the standard configurations, we called them Southcoast Uke, Southcoast Big Uke, and Southcoast Tenor Guitar.

The Southcoast Uke, was a 17” scale instrument with a relatively small body – basically a “Super Concert”. Now that we’re getting back to building after our Lacey Act hiatus, the model will have a new name: Southcoast Alto Largo. The fact that we called this our “Uke” in the first place shows how much we like this configuration. We think it’s the modern classic ukulele - the largest scaled instrument that maintains a classic ukulele sound.

Now, I’ll admit to a certain prejudice against linear tunings on small bodied instruments. I won’t go into all the reasons now. Just let me say that you could take all the top players who play these set-ups and count them on one hand with 4 fingers left over. Take away amplification and you have an empty hand.

I’ll play devil’s advocate to myself for a moment. If you want to violate a beautiful instrument in this fashion, it will be easier to do it with the longer scale. It means your 4th string won’t have to be either ridiculously thick or ridiculously loose. There’s no getting around the fact, however, that the low G note will be ridiculously deep for a concert volume body.

I know ukuleles are supposed to be fun first and foremost. If you have fun with this set-up, then fine. At least you likely won’t go to hell for this sin.
Click to expand...

I'm shocked, Southcoast. From my perspective, your post here does sound strictly prejudicial. I have a Koaloha concert that I've strung with a wound low G several times. The fourth string is neither too loose nor too thick. I never had to widen the nut slot and it tunes easily. The string plays as well as the three florocarbons and sounds full without overpowering the other strings. This is the instrument I've used in performance more than any other over the years, and with low G tuning, it impresses listeners and every player who's tried it out. In fact I just sold my tenor to buy a new concert to dedicate to low G tuning. I hope others will not be discouraged by this thread from at least trying it out. There's nothing "ridiculous" about a low G concert, and it's definitely no "violation."

Didn't John King sometimes play low G sopranos?
 
stevepetergal said:
Didn't John King sometimes play low G sopranos?
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Oooooooooooooh, steve,

While you may not be condemned to damnation for abuse of those sweet little instruments with your low G, this statement puts you in mortal danger. From John himself:

Recently a controversy arose involving players who tuned their G strings—that’s the “my” string—down an octave, so-called low-G tuning. The traditionalists, using—you guessed it—high-G tuning, bemoaned the modernists destroying the one thing that made the ‘ukulele unique, all for the sake of a few extra notes. In the interest of full disclosure, I have to tell you, I’m a high-G man, but I don’t feel the least bit threatened by those players who’ve succumbed to the Dark Side. Understandably, not everyone feels the way I do. One of my high-G colleagues told me about a recurring dream he has where he drives legions of low-G players over the Pali—Kamehameha style—thereby uniting the Islands under one tuning, forever and ever. One other wrinkle: Even though I tune to high-G, I do it starting from the other end of the jingle, fleas-has-dog-my. I wonder what Jonathan Swift would have made of that?
Click to expand...

You have a point about my quote being predjudicial (although not "strictly"). To some extent, it is. I was doing my best to put that predjudice out there in a humorous fashion. I don't want to make anyone feel bad about playing an ukulele in any way they want to. As you can see above, John had a nice sence of humor on the matter - probably expressed it better than me.

I do, however, as stated at the opening, have a great love for this instrument, based on it's wonderful potential as a reentrant vehicle. I'd just hate to see it get a reputation as the "low 4th alternative". I"ll come back at some point and post a bit more about that.
 
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I stand corrected. I'll keep one low G concert, though.

As for "strictly", I did say "from my perspective" it "sound(s) strictly prejudicial". And it does. You're not wrong, but for all the others out there, reading this thread and learning, I don't want to disguise my opinions or yours or even John King's as gospel.

Friends?
 
My KoAloha Super Concert is strung low g.
It was a great sounding uke in high g, but it booms in low g and sounds SUPER.
 
Much good food for thought.

A follow up: in changing between high and low G set up, how does this effect saddle compensation? Does anyone run into tuning issues?

Thanks.
 
I have my Ohana Concert strung with a low G, and it sounds wonderful!
 
If superconcerts were just badly intonated, no one would build or play them. It's just a tenor with a small body. It has tenor scale length and tenor strings. How your own superconcert sounds best to you, is up to you to decide. :)

(I know the first bit has been repeated many times but if people are still wondering how it effects intonation, I thought I'd repeat it. Obviously I'm like the opposite if an expert, only to say my superconcert has been low g'd plenty, and is the most accurate of my ukes.)
 
Plainsong said:
If superconcerts were just badly intonated, no one would build or play them. It's just a tenor with a small body. It has tenor scale length and tenor strings. How your own superconcert sounds best to you, is up to you to decide. :)

(I know the first bit has been repeated many times but if people are still wondering how it effects intonation, I thought I'd repeat it. Obviously I'm like the opposite if an expert, only to say my superconcert has been low g'd plenty, and is the most accurate of my ukes.)
Click to expand...



I was asking regarding saddle compensation -- here small differences can mean a lot.
 
I agree with SailingUke: when I still have my Koaloha Superconcert, the worth brown strings with low G strings make the koaloha sc a KOALOHA SC, with very distinctive sounds. I just sold to buy my tenor... I'm still a traditional High G player. In this tune, the koaloha tenor is my best...
 
I've actually got one of my super sopranos (concert scale) set up low G right now. I did it on a lark since I had a single wound low-g collecting dust. Initially, it seemed a little strange - not bad, just...strange. The other night I grabbed that uke and played for twenty minutes before I even realized, "oh yeah, this is the one I put a low-G on" - it just sounded fine!

John
 
Yup, and diameter of the string and tension factor in, big time. A big string and a little string require different compensation to intonate correctly.

Plainsong said:
Well, my understanding of saddle compensation is to fine tune the intonation from the saddle, so isn't this still about intonation?
Click to expand...
 
Goats Can Eat Anything said:
Yup, and diameter of the string and tension factor in, big time. A big string and a little string require different compensation to intonate correctly.
Click to expand...

Well whatever method is used or needed or not needed, the Kanliea is perfect. It's the best intonated uke I have and none of mine are slouches there. Testing with a Peterson stroboclip and my ears. It's a superconcert, and yes it's as accurate in low g (even unwound). It even came from Kanilea as low g. I don't think it's a compensated saddle either. It's just something they've figured out now. Maybe asking that in the luthier's lounge will get you the details you need there.
 
I play a low G concert, sounds fantastic. I am using a wound G and Savarez clears and am extremely happy with the sound. Several of my friends always compliment the sound when they are over to jam. I tried a Fremont low G clear and it did not work, the tension was in fact too lose but it was a low G, just mushy. Going to a D'Addario wound low G, tension is perfect and it sings.
 
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